Marvin E. Hobson Dr. Williamson ENGL 864 June 11, 2014 Corrine’s Possible Inheritance of the Numidian I have come to the stark realization that Corrine is trying to emphasize and affirm the South, its nature, and its connection to the ultimate South – Africa. Since we understand Corinne as an allegorical response to the demands and challenges imposed by the Napoleonic reign, throughout most of the text, I have been in search of an answer for Corinne’s need and overwhelming desire to communication and explicate the natural. What is the significance of all of her nature motifs? The answer to this was never more illuminating to me than when Corinne is discussing the “common people of Naples” (193). Perhaps, within the thread of text, there lies an underlying reference to the relationship between Italy and its neighbors further south. The African shore which is on either side of the ocean almost be felt already, and in wild shouts that can be heard on all sides there is something indefinable Numidian. The tanned faces, the garments made of a few scraps of red or purple cloth, whose rich colour attracts the eye, the ragged cloths artistically arranged by this artistic people… (193). Could it be possible that Corinne is who she is because of her direct proximity and connection to the Numidian or African countries and cultures on the fringes of Italy? Perhaps, it is an affect these tanned faces and their loud shouts of liveliness, coupled with their brightly adorned garments, and their obviously creative lifestyles that have made such an ingrained impression upon Corinne and her performance quality, passed down to her by geographical proximity. Is this conjecture all too outlandish? Well, if so, then it seems as though the women’s writers are too silent about the issue of Blackness. During this time period, an abundance of ideas are circulated around the great Atlantic regarding the slavery issue. Let’s not forget that the Napoleonic Wars were not only fought on the European shores. One of their greatest financial losses was the Island of Haiti, the French work horse, which gains its independence in 1804-but at the cost of reparations paid to France for lost profits. What if Corinne is mentioning this reference to the “True South” as a nod to the African condition in a subversive critique to the cold north? Moreover, it also seems like an affirmation to the culture and its inherent qualities to which she, herself, subscribed and internalized. As Corinne continues to discuss and explain the distinctions in Naples, She reiterates, “In Naples a certain taste for ornament and decorations is often found side by side with the absolute lack of what is necessary or convenient…. Some have a festive look, which is linked neither to plenty nor to public happiness but solely to the liveliness of the imagination…” (193). The mention of these adornments reminds me of the anthropological research findings of Zora Neale Hurston, who found that African-Americans and hemispheric diasporic cousins obtained, amongst other qualities, this need to adorn themselves, which manifested itself in different ways based on class, culture, and nationality. Corinne’s recognition and affirmation of this adorning quality is one which she seems to gladly inherit from her Southern neighbors. In other words, these individuals are completely contented. To quote Paul from the Bible, “I know both how to be abased, and I know how to abound: everywhere and in all things I am instructed both to be full and to be hungry, both to abound and to suffer need (Phil. 4:12). Furthermore, this tension appears to allow for an appreciation of life and an emergence of creativity, which invites plenitude.
Dr. Williamson
ENGL 864
June 11, 2014
Corrine’s Possible Inheritance of the Numidian
I have come to the stark realization that Corrine is trying to emphasize and affirm the South, its nature, and its connection to the ultimate South – Africa. Since we understand Corinne as an allegorical response to the demands and challenges imposed by the Napoleonic reign, throughout most of the text, I have been in search of an answer for Corinne’s need and overwhelming desire to communication and explicate the natural. What is the significance of all of her nature motifs? The answer to this was never more illuminating to me than when Corinne is discussing the “common people of Naples” (193). Perhaps, within the thread of text, there lies an underlying reference to the relationship between Italy and its neighbors further south.
The African shore which is on either side of the ocean almost be felt already, and in wild shouts that can be heard on all sides there is something indefinable Numidian. The tanned faces, the garments made of a few scraps of red or purple cloth, whose rich colour attracts the eye, the ragged cloths artistically arranged by this artistic people… (193).
Could it be possible that Corinne is who she is because of her direct proximity and connection to the Numidian or African countries and cultures on the fringes of Italy? Perhaps, it is an affect these tanned faces and their loud shouts of liveliness, coupled with their brightly adorned garments, and their obviously creative lifestyles that have made such an ingrained impression upon Corinne and her performance quality, passed down to her by geographical proximity. Is this conjecture all too outlandish? Well, if so, then it seems as though the women’s writers are too silent about the issue of Blackness. During this time period, an abundance of ideas are circulated around the great Atlantic regarding the slavery issue. Let’s not forget that the Napoleonic Wars were not only fought on the European shores. One of their greatest financial losses was the Island of Haiti, the French work horse, which gains its independence in 1804-but at the cost of reparations paid to France for lost profits.
What if Corinne is mentioning this reference to the “True South” as a nod to the African condition in a subversive critique to the cold north? Moreover, it also seems like an affirmation to the culture and its inherent qualities to which she, herself, subscribed and internalized. As Corinne continues to discuss and explain the distinctions in Naples, She reiterates, “In Naples a certain taste for ornament and decorations is often found side by side with the absolute lack of what is necessary or convenient…. Some have a festive look, which is linked neither to plenty nor to public happiness but solely to the liveliness of the imagination…” (193). The mention of these adornments reminds me of the anthropological research findings of Zora Neale Hurston, who found that African-Americans and hemispheric diasporic cousins obtained, amongst other qualities, this need to adorn themselves, which manifested itself in different ways based on class, culture, and nationality. Corinne’s recognition and affirmation of this adorning quality is one which she seems to gladly inherit from her Southern neighbors. In other words, these individuals are completely contented. To quote Paul from the Bible, “I know both how to be abased, and I know how to abound: everywhere and in all things I am instructed both to be full and to be hungry, both to abound and to suffer need (Phil. 4:12). Furthermore, this tension appears to allow for an appreciation of life and an emergence of creativity, which invites plenitude.